Echo Stripping Quotes

No one who survives to speak new language, has avoided this: the cutting-away of an old force that held her rooted to an old ground the pitch of utter loneliness where she herself and all creation seem equally dispersed, weightless, her being a cry to which no echo comes or can ever come. But in fact we were always like this, rootless, dismembered: knowing it makes the difference. Birth stripped our birthright from us, tore us from a woman, from women, from ourselves so early on and the whole chorus throbbing at our ears like midges, told us nothing, nothing of origins, nothing we needed to know, nothing that could re-member us.

O: You’re quite a writer. You’ve a gift for language, you’re a deft hand at plotting, and your books seem to have an enormous amount of attention to detail put into them. You’re so good you could write anything. Why write fantasy? Pratchett: I had a decent lunch, and I’m feeling quite amiable. That’s why you’re still alive. I think you’d have to explain to me why you’ve asked that question. O: It’s a rather ghettoized genre. P: This is true. I cannot speak for the US, where I merely sort of sell okay. But in the UK I think every book— I think I’ve done twenty in the series— since the fourth book, every one has been one the top ten national bestsellers, either as hardcover or paperback, and quite often as both. Twelve or thirteen have been number one. I’ve done six juveniles, all of those have nevertheless crossed over to the adult bestseller list. On one occasion I had the adult best seller, the paperback best-seller in a different title, and a third book on the juvenile bestseller list. Now tell me again that this is a ghettoized genre. O: It’s certainly regarded as less than serious fiction. P: (Sighs) Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus. Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy. Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that. (Pauses) That was a bloody good answer, though I say it myself.

Why do you do that?” Torrin’s voice echoes in the empty hall. His hand is holding my arm gently, not at all like Derek does. I can’t have this. I can’t. I shouldn’t have ever come here with him. I draw in a shaky breath and pull my arm away. “Do what?” “Walk away every time I ask you something personal?” I stare hard at him. “Why do you do that? He blinks. “Huh?” “Ask so many questions.” His mouth drops open and closes and five long seconds pass before he says, “It’s what people do, Quinn. When they’re getting to know each other.” I shake my head and spin toward the door. “You don’t want to get to know me.

Prison Moon Four a.m. work duty and I begin my solitary trudge from outer compound to main building. A shivering guard, chilled in his lonely outpost, strip searches me until content that my inconsequential nudity. poses no threat and then whispers the secret code that allows me admittance into the open quarter-mile walkway. I chuff my way into another day as ice glints on the razor wire and the rifles note my numbed passage, silent but for my huffs and scuffle on the cracked, slippery sidewalk A new moon, veiled in wispy fog and beringed in glory, hangs over the prison, its gaudy glow taunting the halogen spotlights. The moon’s creamy pull upsets some liquid equilibrium within me and like tides, wolves and all manner of madmen, I surrender disturbed by the certainty that under the bony luminescence of a grinning moon The lunar deliriums grip me and I howl--once, then again, and surely somewhere an unbound sleeper stirs, penitence is dying a giddy death. I shake myself sane and as the echoes hang in the frigid air I explain to the wild-eyed guard that convicts, like all animals under the leash, must bay at the beauty beyond them.

I am not separate from you, my neighbour. If you are my enemy then I am my own enemy. If you are my friend then I am my own friend. Today, I have stripped off my masks and come to know myself. I am Christian. I am Jew. I am Muslim and Hindu. I am European and African. Asian and South American. I am man. I am woman. I am intersexed. I am homosexual. I am heterosexual and asexual. I am abled. I am disabled. I am all these things because you are, and you are all these things because we are. I exist in relation to each of you, this is what gives my being meaning. Why must I label myself like a bottle of wine? When I am the bottle, the wine, and the drunkenness. Why must I label myself at all? When I am the flesh, the light, and the shadow. When I am the voice, the song, and the echo. Tell me why I must label myself when I am the lover, the beloved, and love. I am not separate from you, my neighbour. And you are not separate from humanity. We are all mirrors, reflecting one another in perpetuity.

It was a long head. It was a wedge, a sliver, a grotesque slice in which it seemed the features had been forced to stake their claims, and it appeared that they had done so in a great hurry and with no attempt to form any kind of symmetrical pattern for their mutual advantage. The nose had evidently been first upon the scene and had spread itself down the entire length of the wedge, beginning among the grey stubble of the hair and ending among the grey stubble of the beard, and spreading on both sides with a ruthless disregard for the eyes and mouth which found precarious purchase. The mouth was forced by the lie of the terrain left to it, to slant at an angle which gave to its right-hand side an expression of grim amusement and to its left, which dipped downwards across the chin, a remorseless twist. It was forced by not only the unfriendly monopoly of the nose, but also by the tapering character of the head to be a short mouth; but it obvious by its very nature that, under normal conditions, it would have covered twice the area. The eyes in whose expression might be read the unending grudge they bore against the nose were as small as marbles and peered out between the grey grass of the hair. This head, set at a long incline upon a neck as wry as a turtle's cut across the narrow vertical black strip of the window. Steerpike watched it turn upon the neck slowly. It would not have surprised him if it had dropped off, so toylike was its angle. As he watched, fascinated, the mouth opened and a voice as strange and deep as the echo of a lugubrious ocean stole out into the morning. Never was a face so belied by its voice. The accent was of so weird a lilt that at first Steerpike could not recognize more than one sentence in three, but he had quickly attuned himself to the original cadence and as the words fell into place Steerpike realised he was staring at a poet.

If I want you,” he echoed. “If.” “It’s your choice as much as it is mine. If you need time to consider, I—” “If I need time to consider?” In the flash of a moment, he had her on her back. Penny lay beneath him, breathless. His dark eyes held hers. “The only thing I’m considering is precisely how to remove the word ‘if’ from your vocabulary.” “Oh.” “First, I’m going to strip you naked. I’m going to stroke every part of you with my hands. Then I’m going to paint your body with my tongue. By the time I’m done with you, you will never—ever—ask if I want you again.” “Very well. If you insist.” He growled through a begrudging smile. “You little minx.

It is as if Protestantism by clinging to the Scripture wished to preserve the last faint echoes of God’s Word in a world that has fallen silent, a world where only things speak dumbly, a world delivered over to the silence and ruthlessness of the Absolute, - and in his fear of God the Protestant has realized that it is his own goal before which he cowers. For in excluding all other values, in casting himself in the last resort on an autonomous religious experience, he has assumed a final abstraction of a logical rigour that urges him unambiguously to strip all sensory trappings from his faith, to empty it of all content but the naked Absolute, retaining nothing but the pure form, the pure, empty and neutral form of a 'religion in itself', a 'mysticism in itself'.

I fumbled in my pockets for my father’s map. I stared and rubbed the paper between my fingers. I read the sightings’ dot’s dates with my wormed eyes, connecting them in order. There was the first point where my father felt sure he’d seen mother digging in the neighbor’s yard across the street. And the second, in the field of power wires where Dad swore he saw her running at full speed. I connected dots until the first fifteen together formed a nostril. Dots 16 through 34 became an eye. Together the whole map made a perfect picture of my mother’s missing head. If I stared into the face, then, and focused on one clear section and let my brain go loose, I saw my mother’s eyes come open. I saw her mouth begin to move. Her voice echoed deep inside me, clear and brimming, bright, alive. She said, “Don’t worry, son. I’m fat and happy. They have cake here. My hair is clean.” She said, “The earth is slurred and I am sorry.” She said, “You are OK. I have your mind.” Her eyes seemed to swim around me. I felt her fingers in my hair. She whispered things she’d never mentioned. She nuzzled gleamings in my brain. As in: the day I’d drawn her flowers because all the fields were dying. As in: the downed bird we’d cleaned and given a name. Some of our years were wall to wall with wonder, she reminded me. In spite of any absence, we had that. I thought of my father, alone and elsewhere, his head cradled in his hands. I thought of the day he’d punched a hole straight through the kitchen wall, thinking she’d be tucked away inside. All those places he’d looked and never found her. Inside their mattress. In stained-glass windows. How he’d scoured the carpet for her stray hair and strung them all together with a ribbon; how he’d slept with that one lock swathed across his nostrils, hugging a pillow fitted with her nightshirt. How he’d dug up the backyard, stripped and sweating. How he’d played her favorite album on repeat and loud, a lure. How when we took up the carpet in my bedroom to find her, under the carpet there was wood. Under the wood there was cracked concrete. Under the concrete there was dirt. Under the dirt there was a cavity of water. I swam down into the water with my nose clenched and lungs burning in my chest but I could not find the bottom and I couldn’t see a thing.

The Swedish royal family’s legitimacy is even more tenuous. The current king of Sweden, Carl XVI Gustaf, is descended neither from noble Viking blood nor even from one of their sixteenth-century warrior kings, but from some random French bloke. When Sweden lost Finland to Russia in 1809, the then king, Gustav IV Adolf—by all accounts as mad as a hamburger—left for exile. To fill his throne and, it is thought, as a sop to Napoleon whose help Sweden hoped to secure against Russia in reclaiming Finland, the finger of fate ended up pointing at a French marshal by the name of Jean-Baptiste Bernadotte (who also happened to be the husband of Napoleon’s beloved Desirée). Upon his arrival in Stockholm, the fact that Bernadotte had actually once fought against the Swedes in Germany was quickly forgotten, as was his name, which was changed to Charles XIV John. This, though, is where the assimilation ended: the notoriously short-tempered Charles XIV John attempted to speak Swedish to his new subjects just the once, meeting with such deafening laughter that he never bothered again (there is an echo of this in the apparently endless delight afforded the Danes by the thickly accented attempts at their language by their current queen’s consort, the portly French aristocrat Henri de Monpezat). On the subject of his new country, the forefather of Sweden’s current royal family was withering: “The wine is terrible, the people without temperament, and even the sun radiates no warmth,” the arriviste king is alleged to have said. The current king is generally considered to be a bit bumbling, but he can at least speak Swedish, usually stands where he is told, and waves enthusiastically. At least, that was the perception until 2010, when the long-whispered rumors of his rampant philandering were finally exposed in a book, Den motvillige monarken (The Reluctant Monarch). Sweden’s tabloids salivated over gory details of the king’s relationships with numerous exotic women, his visits to strip clubs, and his fraternizing with members of the underworld. Hardly appropriate behavior for the chairman of the World Scout Foundation. (The exposé followed allegations that the father of the king’s German-Brazilian wife, Queen Silvia, was a member of the Nazi party. Awkward.) These days, whenever I see Carl Gustaf performing his official duties I can’t shake the feeling that he would much prefer to be trussed up in a dominatrix’s cellar. The

We all born into our own natures," she said. "I, created from Chaos, was given unto the night. It is what I am. Who are you, Nico di Angelo?" He gasped softly. "How-?" "How do I know your name?" Nyx feigned outrage. "We are in Tartarus, you silly child. Everything here is stripped to its truest, rawest form. The longer you remain with me, the more clearly I can see you... and the less you can hide." She brought Nico so close he thought he would pitch forward into the void of her face. "Have you ever looked at yourself, Nico? Because I see the truth. You belong down here in the darkness. It is your nature, and yet you fight it every day. Must you be so obstinate? Must you ignore the obvious?" "No," he said, squirming against Nyx's hold. "I know where I'm supposed to be." A terrible laughter echoed from the empty space where her mouth should have been. "You are hopelessly confused. Those are confused end up with me." "They do," said Hypnos. "They always do." "Night is when all beings stumble and go astray," Nyx said, her voice now soothing, "but it is alsso when you can face the darkest truth. You must stop entertaining this notion that you can escape who you are. I will help you choose, Nico di Angelo. I will make things so much simpler... Choose.

My oral tradition has gradually been overlaid and is in danger of vanishing: at the age of eleven or twelve I was abruptly ejected from this theatre of feminine confidences - was I thereby spared from having to silence my humbled pride? In writing of my childhood memories I am taken back to those bodies bereft of voices. To attempt an autobiography using French words alone is to lend oneself to the vivisector's scalpel, revealing what lies beneath the skin. The flesh flakes off and with it, seemingly, the last shreds of the unwritten language of my childhood. Wounds arc reopened, veins weep, one's own blood flows and that of others, which has never dried. As the words pour out, inexhaustible, maybe distorting, our ancestral night lengthens. Conceal the body and its ephemeral grace. Prohibit gestures - they arc too specific. Only let sounds remain. Speaking of oneself in a language other than that of the elders is indeed to unveil oneself, not only to emerge from childhood but to leave it, never to return. Such incidental unveiling is tantamount to stripping oneself naked, as the demotic Arabic dialect emphasizes. But this stripping naked, when expressed in the language of the former conquerer (who for more than a century could lay his hands on everything save women's bodies), this stripping naked takes us back oddly enough to the plundering of the preceding century. When the body is not embalmed by ritual lamentations, it is like a scarecrow decked in rags and tatters. The battle-cries of our ancestors, unhorsed in long-forgotten combats, re-echo across the years; accompanied by the dirges of the mourning-women who watched them die.

I glanced across the room at Thaddeus seated at a long table within a group of shop keepers, and I contemplated him strongly. My heart leaped in my chest at the mere sight of him. I felt myself overcome. The acts of kindness and sweet attention and gratifying moments of passion afforded me by this man since the day of our marriage were purely pleasing. To be loved was a desirous affair! It was the aim of every beating heart! I nearly cast aside my concerns and allowed myself to be consumed by these agreeable sentiments except for one thing: I could not forget how stripped of power and dignity I had felt that very morning. Thaddeus had essentially commanded me to sit and stay like a dog. And I had heeded my master without so much as a growl! This was not me. No one stayed me. I watched those at the table grow more intensely involved in the details of a trade agreement I cared nothing about. Such business bartering was always selfishly motivated. When it appeared that my husband’s attention was engrossed on a point of aggressive negotiation, I excused myself from the weaving party and slipped out the back door. I turned down the alleyway and hurried to a crumbling chimney flue that was easy enough to climb. Almost immediately, a fit of anxiety gripped at my chest, and I felt as if a war was being waged in my gut—a battle between my desire to protect what harmony existed in my marriage and the selfish want to reclaim an ounce of the independence I had lost. This painful struggle nearly persuaded me to reconsider my childish act of defiance. Why was I stupidly jeopardizing my marriage? For what purpose? To stand upon a rooftop in sheer rebellion? Was I really that needy? That proud? I could hear my husband’s command echoing in my mind—no kind persuasion, but a strict order to keep my feet on the ground. I understood his cautious reasoning, and I didn’t doubt he was acting out of concern for my safety, but I was not some fragile, incapable, defenseless creature in need of a controlling overseer. What irked me most was how my natural defenses had failed me. And the only way I could see to restore my confidence was to prove I had not lost the courage and ability to make my own choices and carry them out. Perhaps this act of defiance was childish, but it was remedial as well.

Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus. Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy. Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that.

The room had been picked and stripped till only the bare walls and floor remained. Here where they had been married, where the wedding supper had taken place, where Trina had bade farewell to her father and mother, here where she had spent those first few hard months of her married life, where afterward she had grown to be happy and contented, where she had passed the long hours of the afternoon at her work of whittling, and where she and her husband had spent so many evenings looking out of the window before the lamp was lit—here in what had been her home, nothing was left but echoes and the emptiness of complete desolation. Only one thing remained. On the wall between the windows, in its oval glass frame, preserved by some unknown and fearful process, a melancholy relic of a vanished happiness, unsold, neglected, and forgotten, a thing that nobody wanted, hung Trina’s wedding bouquet.

I realised that day that when the animation of the person we were is stripped out of the vessel we have used to pilot our way through life, it leaves little more than an echo or a shadow in the physical world.

Viet Cong, young men carelessly eating their breakfast, never suspecting the Americans would be out so early. They paid with their lives. Most of us were pretty excited whenever we actually, but rarely, saw the enemy, much less killed them. But Barnes was cool, so cool, no big displays ever. Having reported the incident, and stripping the dead men, he soon had us under way, no credit taken, looking for further action ahead; considering there had already been contact, the likelihood of more that day was in the air. Whereas some of us were not looking forward to such an encounter, the thought excited Barnes. He was a great soldier, probably on his second or third tour — but why? Why would he come back after a facial wound like he had? I never asked, and he never told. You hear things in the army, as in all society, and some kind of narrative emerges; in this case, the story was that he’d been literally shot or sustained shrapnel in the face, skull, head, requiring a major reconstruction job as the scar branched deeply around his eye, nose, and cheek; even his lips were affected. And as he had clearly once been a handsome man, the scars perversely heightened his visage into a Phantom of the Opera echo — a man distorted, perhaps, by anger or revenge, or really a question mark. What was he about? He never hinted in all the time I was around him. I watched him with both curiosity and trepidation; he’d get back to the rear after we’d been out in the field a week or more and relax with booze, poker, cigarettes, sometimes a cigar. It was said he’d been in Japan in the hospital about eight months, rehabbing from the wound. And there he’d “married a Japanese gal.” And now he was back. Sort of an Ahab looking for his White Whale. And here I was, like Ishmael, walking five or ten steps behind him, always expecting that something was going to break because, like a fly, he smelled the blood of war. As good a soldier as he was, I was relieved when he got rid of me as his radio operator.

Champagne Sheets by Stewart Stafford The little girl who swam with sharks, Receiver clutched in her dead hand, A naked, lonely death in a sterile room, Pill bottles silent witnesses to her end. Did she jump, or did others push her? Tabloid gossip for the masses to echo, Livid without make-up in the mortuary, Stripped of her last vestiges of privacy. Her disturbed mother was never there, She had no siblings or a nurturing father, True love and children evaded her grasp, A fragile shell, now a luminary immortal. © Stewart Stafford, 2022. All rights reserved.

Almost every day a beautiful woman wearing a ball gown made of grey parachute silk and a broad-brimmed hat trimmed with grey roses visits me. Hardly have I sat down in my armchair, tired from work, but I hear her steps outside on the pavement. She sweeps in at the gate, past the almond tree, and there she is, on the threshold of my workshop. Hastily she comes over to me, like a doctor afraid that she may be too late to save a sinking patient. She takes off her hat and her hair tumbles about her shoulders, she strips off her fencing gloves and tosses them onto this little table, and she bends down towards me. I close my eyes in a swoon – and how it goes on after that point, I do not know. One thing is certain: we never say a word. The scene is always a silent one. I think the grey lady understands only her mother tongue, German, which I have not once spoken since I parted from my parents at Oberwiesenfeld airport in Munich in 1939, and which survives in me as no more than an echo, a muted and incomprehensible murmur. It may possibly have something to do with this loss of language, this oblivion, Ferber went on, that my memories reach no further back than my ninth or eighth year, and that I recall little of the Munich years after 1933 other than processions, marches and parades.

And yet often in the social world this presumption is flipped. Arguments are deemed more compelling when stripped of evidence. Instead, we admire conviction, which is often a synonym for gut feeling. Chris Grayling, then the Lord Chancellor and Secretary of State for Justice in the UK, once said: “The last Government was obsessed with pilots [i.e., pilot schemes]. Sometimes you just have to believe in something and do it.” This contempt for evidence echoes the stance of the pre-scientific age.

What a lesson for us!  How few of us ever finish the tasks assigned to us.  The world is full of souls that are like unfinished symphonies, and half-completed Gothic Cathedrals – souls who have begun the poem of their life but have never written the last line; souls that paint pictures and leave out the borders; souls that never have the joy of looking on a perfect work, seeing that it is good, and then, catching an echo from the Cross, crying out the song of victory: “It is finished”. Calvary is a place of great impatience.  Many souls follow Our Lord to the Mount of Beatitudes, but refuse to follow Him to Calvary; some carry their cross to Calvary, but when they get there, they lay it down; some are stripped of the garments of doubt, but refuse to be nailed in the fullness of sacrifice; others are nailed but unfasten themselves before the elevation of the cross; others are crucified but answer the challenge of the world and come down after one hour, after two hours, within a minute of the sound of three.  The world is full of half-crucified souls.  Few there are who stay until the very end; few there are who know what it is to give all, to see the work well done, and experience the thrill of a victory won.  Would that there were a single day in our life, in which we could honestly say – I have given God all!  “It is finished.

He jots down one last note before standing up. I quickly read it. Let's find out. In the middle of Mr. Whitticker's lecture, in the middle of a sentence about how important lobbyists are to our democratic system, Justin reaches across his back and strips off his t-shirt. My gasp echoes along with those of the girls around us.

I’ve read, Monsieur Boustouler, that if an avalanche buries you and you’re lying there underneath all that snow, you can’t tell which way is up or down. You want to dig yourself out but pick the wrong way, and you dig yourself to your own demise. That was how I felt, disoriented, suspended in confusion, stripped of my compass.

The carcasses hanging from hooks in butcher shops; the blacksmiths working their wooden wheels, hand pumping their bellows; the fruit merchants fanning flies off their grapes and cherries; the sidewalk barber on the wicker chair stropping his razor. They passed tea shops, kabob houses, an auto-repair shop, a mosque....North of the strip were few blocks of residential area, mostly composed of narrow, unpaved streets and small flat roofed little houses painted white or yellow or blue. Satellite dishes sat on the roofs of a few...

The Haunt The haunt walks counting the bodies held in cubicle chambers; each night the rattle of his keys reminds one of the living dead who are keyless. The Turnkey continues his nightly watch to ensure none of the living dead commits suicide. To be truly dead is forbidden, unless the State sanctions the kill. This ritual first began as a means of penitence, and Auburn was the first N.Y.S. penitentiary and silence was the means to repentance, silence and reading the bible. Back then, the penitent memorized the portions of the bible: when Cain killed Abel, Joshua’s war on Jericho, and all about Ruth, Mary, and Esther — with little thought of God. Over 100 years, the haunt walks with the sanctimonious sentiments of a sentinel, with self-righteous indignation which the living dead attempt to repel with false braggadocio — but when the lights go out, the sudden screams, and all- night talk to prohibit nightmares — awaiting the dawn — permit the haunt to smile with arrogant knowing. The torture of the night is the haunt’s pleasure, making the rounds smelling the decay of dreams deferred, the putrid stench of justice, like the full bowels of slave ships. Gun towers stand reminiscent of the hanging trees with its strange fruit that the haunt picks at leisure appraising its ripeness in terms of life sentences. As steel bangs against steel, chains clang with the echoes of gangs dressed in strips of day and night, black and white; the fright prohibits flight as jail cells constrict and severely depict the absence of liberty. The haunt of Auburn, year by year decade by decade, in a century has never escaped the nightly count of tormented souls, himself chained to the ball of the imprisoned — a spirit’s horror of lost freedom.

She looked at me. “You’re an assassin, aren’t you? When there are rumors the government has someone on the payroll, they’re talking about you, right?” I let out a long exhalation. “Something like that.” There was a pause. Then she asked, “How many people have you killed?” My eyes moved to my glass. “I don’t know.” “I’m not talking about Vietnam. Since then.” “I don’t know,” I said again. “Don’t you think that’s too many?” The mildness of her voice made the question worse. “I don’t… I have rules. No women. No children. No acts against nonprincipals.” The words echoed flatly in my ears like a moron’s mantra, talismanic sounds suddenly stripped of their animating magic. She laughed without mirth. “ ‘I have rules.’ You sound like a whore who wants credit for virtue because she won’t kiss the clients she fucks.” It stung. But I took it.

those of the Möbius strip, the cross-cap, and the Klein bottle—a triad which echoes the basic triad of Hegel’s logic: being, essence, notion.5 The Möbius strip renders the continuous passage of a concept into its opposite (being passes into nothingness, quantity into quality, etc.). The cross-cap introduces a cut into this continuity, and this cut makes the relationship between the two opposites that of reflection: with the cross-cap, pure difference enters the stage, the difference between appearance and essence, a thing and its properties, cause and its effects, etc. With the Klein bottle, subjectivity enters: in it, the circle of reflexivity is brought to the Absolute, the cause becomes nothing but an effect of its effects, etc.

witnessed the boy who’d been stripped of a life of happiness that could’ve been his, get revenge on the evil that stole his innocence. I gritted my teeth alongside him as he carved layers of flesh from Bishop Caldwell’s arms and thighs, noting the disturbing sound of the strips of skin slapping and sticking against the cool concrete as they fell. Saint passed out on top of the table as the spurts of warm blood splattered across our faces like a badge of revengeful honor. The thrill of knowing no child would be violated so violently filled my heart as I watched Aero cut it off, the screams of torture echoing throughout my body before being muffled out by his own shriveled, bloodied dick. It was cruel. Most would consider it downright evil. But all I saw was the divine, heavenly justice of a man who deserved far worse than any pain we could inflict on this earth. I stood behind Aero, gripping his bloodied hand in mine as one life vanished and a new life was reborn.

The essence of deep and profound suffering, as articulated through the lens of individuals grappling with akathisia, reveals a universal truth about human resilience and the quest for meaning amidst adversity. Suffering, in its most unbearable forms, strips away the superficial layers of our existence, confronting us with the rawest facets of our being. It is in this crucible of despair that the depth of human strength is truly tested, and paradoxically, where the seeds of hope are sown. Throughout history, philosophers, poets, and survivors of great hardship have all echoed a similar sentiment: there is a profound transformation that occurs in the heart of suffering. It is not merely an ordeal to be endured but a powerful catalyst for growth and self-discovery. The pain that once seemed to diminish us eventually serves to expand our empathy, deepen our understanding of life's fragility, and enhance our appreciation for moments of joy and connection. In the narrative of overcoming akathisia, the raw and relentless nature of such suffering becomes a testament to the indomitable human spirit. This condition, characterized by an inner restlessness that can torment the mind and body, becomes a battleground upon which the battle for mental and emotional freedom is fought. The victory, hard-won, lies not in eradicating the condition but in mastering the art of resilience, in discovering that hope is not obliterated by despair but made more precious by it. To conclude, deep and profound suffering is an unyielding force, capable of either crushing the human spirit or refining it into something stronger and more beautiful. The choice of which direction we turn depends largely on our ability to find meaning in our pain, to reach out for support, and to believe in the possibility of regeneration. Like the phoenix rising from its ashes, individuals who traverse the dark night of the soul can emerge transformed, bearing the scars of their battles as badges of honor. These experiences whisper to us of the extraordinary resilience that resides within, urging us to keep moving forward, even when every step seems impossible. The power of the human spirit to transcend suffering reminds us that even in our darkest moments, there is always a path leading towards the light.

I have to play, because I am me after all. “And I want you naked,” I yell only once she’s halfway across the courtyard. Faith freezes misstep. Her spine stiffens, and her shoulders bunch. I expect her to keep on walking. Pretend I didn’t shout it loud enough for Crow, Rotten, and about a dozen other people to hear— and laugh at—my demand. Not my girl. She gives as good as she gets. Faith turns on her heel, a beautiful smirk playing on her lips. “Not a problem, Jester,” she yells back. “But if I’m stripping down to the raw, you better bring your A-game.” Her exit from the courtyard is epic. She strolls into Sanctum like a queen, with a chorus of cheers and applause echoing after her.

In the silence of a day stripped of sleep and sustenance, I craft "Walking Alone in a Jungle." Immersed in the theatricality of my mind, questions cascade like an endless stream, leaving me suspended between belief and doubt. At times, I defy divine power, embracing logic as my refuge. Yet, within the labyrinth of thought, I query the origin – cosmic expanse or mere creation? Contemplating life's capricious dance, I grapple with control. Do I dictate my orbit, or does an unseen hand choreograph existence's strange waltz? The mystery deepens as virtuous hearts endure misfortune. If a benevolent God exists, why does adversity visit the good-hearted? "Why must a virtuous soul suffer?" echoes the proverb. Does God truly test the best with the toughest trials, or is this notion a construct of the mind? Amidst constant questioning, I navigate self-reflection. Why does positivity, tied to pure intentions, spawn misunderstanding? As day wears on, thoughts flow into a new book, yet answers elude me. Are unanswered questions born of perpetual thought, or does clarity dwell in thought's absence? The 'why' persists, a relentless echo in contemplative caverns. Existence's fabric seems woven with illusion, prompting scrutiny of authenticity. Why doubt the simplicity of truth, where pain persists? After tireless questioning, understanding teases, slipping away like shadows. Is it thought's 'why' constructing an exitless maze, or does enlightenment reside where thought surrenders? I don't know. Sometimes, I think too much or not enough. Stuck in a perpetual cycle, I laugh bitterly. Perhaps, writing holds answers, or stubborn questioning persists. Why?

His fingers gripped my hair tight enough to turn it from a tender gesture into something dominant and controlling. "But one thing I'm not, Hellcat, is over you." His lips came down on mine in a bruising, furious kiss that stripped my soul bare and flayed me from the inside. I whimpered into his mouth, parting my lips and begging for more as I clawed at his body. He was fully in control, though, holding my head still with that iron grip on my hair. Steele kissed me, his piercing teasing my tongue and echoing the hardness of his hands, and my walls all crumbled to dust.

When I want to hear my echo,” said Brother Cadfael, “I will at least speak first. Come on, now, and get the bottom strip of ground dug, there are kale plants waiting to go in.

When you say you’ve got the Cloak, and clothes . . .” said Harry, frowning at Hermione, who was carrying nothing except her small beaded handbag, in which she was now rummaging. “Yes, they’re here,” said Hermione, and to Harry and Ron’s utter astonishment, she pulled out a pair of jeans, a sweatshirt, some maroon socks, and finally the silvery Invisibility Cloak. “How the ruddy hell — ?” “Undetectable Extension Charm,” said Hermione. “Tricky, but I think I’ve done it okay; anyway, I managed to fit everything we need in here.” She gave the fragile-looking bag a little shake and it echoed like a cargo hold as a number of heavy objects rolled around inside it. “Oh, damn, that’ll be the books,” she said, peering into it, “and I had them all stacked by subject. . . . Oh well. . . . Harry, you’d better take the Invisibility Cloak. Ron, hurry up and change. . . .” “When did you do all this?” Harry asked as Ron stripped off his robes.

The concept at Halden of staff “being on the same side” as the inmates is not how most people would describe the dynamics within prisons. But it’s exactly what I see as Warden Høidal and I continue our tour of the Halden grounds. We pass the prison’s print shop, where staff and men are working together, unfurling the posters they’ve designed as they emerge from machines, assessing them with admiration and critique. Warden Høidal introduces me to a group of the men. One man asks a question in Norwegian, gesturing at me. Høidal nods, and the man bustles away. I look at the warden quizzically. “They would like to give you a gift,” he explains as the man returns. Smiling, the man hands me an apron and a cookbook, both emblazoned with the name of the prison and a wry image of a magnetic kitchen knife strip from which hang two kitchen knives, a carving fork, and a pair of handcuffs. The name of the cookbook is in Norwegian, but Høidal tells me with a chuckle that it translates as Honest Food from Halden Prison.